Up-and-coming artist ADÉLA has released her debut album, “PRIMA,” three years following her introduction into the public eye with her involvement in the Hybe Corp. and Geffen Records' reality competition series, “Dream Academy.” Even though she was first to be eliminated from the show, hype has grown around the Slovak artist following her debut EP, especially after the eventual winners of the show, later formed as KATSEYE, were nominated for “Best New Artist” at the Grammy Awards last year.
Prior to the release of her debut album, ADÉLA had an eventful start to her music career. In August 2025, she released her debut EP, “The Provocateur” which featured a track produced by Grimes and music videos that included Christina Aguilera and Sofia Wylie cameos.
In the first half of 2026, she opened for Demi Lovato’s “It’s Not That Deep” tour, expanding the fanbase around her EP and building hype for her eventual debut album’s lead single, “KGB.” “KGB” stands as an origin story for the Slovak-born artist, comparing her infiltration into the American pop industry to a spy for the infamous security agency of the Soviet Union.
The second single, “Red Bottoms,” made less of a splash as it took a step away from the more electropop sound that she established on “The Provocateur.” However, the stripped-back single shows off her writing chops better than any previous song in her discography, comparing an emotionally empty relationship to the worn-out red soles of a Christian Louboutin shoe.
The third and final single, “Ain’t In LA,” broke her into mainstream success. An anthem for the dreamers and underdogs, featuring the same male vocalist as Miley Cyrus’s 2013 hit “We Can’t Stop,” the track unites all the “baddest b----es” around the world.
During a live performance of the track, ADÉLA told fans, “I was thinking about how L.A. is what it is because of all the immigrants, just like myself, and all the transplants from all the other states too in the US.” Fittingly, the track made her the first Slovak artist to appear on the Billboard Hot 100 chart, with a current peak position of #61.
On “Ain’t In LA” release day, ADÉLA finally announced her debut album, “PRIMA,” on social media. With the continuing growth of the final track before the album, a growing fanbase awaited its September release date.
On Sept. 4, the 11-track album was finally out. Led off by the debut single, “KGB” gave a great start that hooked fans in instantly.
When discussing the album with CLASH, ADÉLA took a moment in the interview to praise Addison Rae, who released her debut album just last year. Fittingly, the next track, “Nicole Kidman,” would fit perfectly on Rae’s album, “Addison.”
The sultry track pays homage to several Nicole Kidman classics like “Moulin Rouge” and “Babygirl.” The track also continues her themes of sexually liberating lyricism that was previously established on her EP.
The next track stays in the same sultry lane. “I’m The Man” combines ADÉLA’s unpacking of gender dynamics over a bass-heavy beat, with the singer taking over the more male-established roles in a relationship, making her “the man” in the relationship. Unfortunately, the track struggles to stand out, especially with a reoccurring concept done many times in pop music.
“Boys” brings back the percussive, synth- and bass-heavy production that ADÉLA made signature in her EP. The pertinent frustration of the attention of men that ADÉLA feels throughout the track brings an added comical element to the track and shows off the Britney Spears influence that the song radiates.
“Hitachi” is ADÉLA’s first full commitment to a ballad, and it is excellent. The track is built around a relationship that has lost its spark. “I want to get back, wanna get back, how it was,” ADÉLA sings.
The track makes a rather direct comparison of the now-unloving partner to something that still works for her, her “Hitachi.” The rather blunt comparison between her partner and an adult toy spills out the need for attention that has been lacking in the relationship. The harmonized humming and percussive background vocals at the end lose some of the identity of the song and make it a little too comparable to Ariana Grande’s title track, “Eternal Sunshine."
“Fantasize,” which ADÉLA clarified prior to the album release was not the unreleased, fan-favorite Grande track of the same name, is a standout on the record. The switch-up from “Hitachi” to the trombone-heavy, 90s production of “Fantasize” makes the song an absolute bop from the start of the chorus.
The chorus is so well-crafted and hits perfectly every time it is frequently repeated throughout the song. The song continues the crumble of the relationship that is discussed on “Hitachi” and continues on the next track, “Starving Artist.”
The bass-heavy chorus, combined with ADÉLA’s sexual tone and lyricism, describes the end of her former relationship and her return to an ex solely for a sexual relationship. The slowed-down repetition of the chorus at the end of the song perfectly concludes the track, accompanied by the heavy bass that is becoming a perfectly crafted part of her production.
“Marijuana,” running just under two minutes, is another Rae-esque track that debuted live in October of last year. ADÉLA posted a snippet of the song on Instagram last year, captioned, “Life feels like 2014!” That 2010s nostalgia is perfectly captured within the song.
The scandalous rush of the last couple tracks comes to a screeching halt in the next song, “Therapy.” The autotune-heavy ballad, reminiscent of Charli xcx’s “I might say something stupid,” discusses her family issues, with a focus on her father, a common theme throughout the album.
For a song that begins with the lyrics, “I can’t really sing,” it is pretty difficult vocally to endure. Obviously, the whispery, autotune-filled vocals are an intentional part of the song, but with a very simple piano production backing it, the track quickly becomes a rather difficult listen.
After the emotional crash that was “Therapy,” the record concludes with “Ain’t In LA,” which perfectly brings back a feel-good energy to conclude the album.
Overall, this is an excellent debut from ADÉLA, with few duds and multiple stand-out tracks in “Nicole Kidman,” “Hitachi” and “Ain’t In LA.” However, it is an unfortunate step back from her EP and wears its influences too heavily on its sleeves.
“The Provocateur” established ADÉLA with a more lively, hyperpop-heavy sound, which “PRIMA” diverts from. Still, the more sultry, bass-focused sound is well-crafted, but makes her sound stand out less in the mainstream conversation.
ADÉLA personally considers herself a “student of pop,” taking influence from a variety of artists that she grew up with. That influence is noticeable on the record, further dampening the uniqueness of her sound, but she is still able to let herself shine through and those songs are the best on the album.
Olivia Rodrigo’s SOURsuffered from the same problem; while excellent, its influences were too noticeable until she established a more signature sound on “GUTS” and “you seem pretty sad for a girl so in love.” Hopefully, like Rodrigo, ADÉLA is able to return to and further establish her sound and make something that is already great into something even better.
Album Rating: 3.5/5
